Meet the 6 best screenplay readers in 2024.
Ever wondered what screenplay readers really think of scripts just like yours?
We’ve asked all of our readers here at Script Reader Pro some telling questions about their likes and dislikes when it comes to reading scripts, films, TV shows and being a screenwriter in general.
We asked our screenplay readers:
- Films/TV shows/novels you wish you’d written?
- Best and worst note you’ve ever received on a script?
- Early signs that a spec will be a great or not-so-great read?
- Favorite/least favorite things a writer does in a spec?
- Best practical advice you give to writers?
- When is an idea solid enough to develop?
- First steps you take after getting an idea?
- When is a script ready to send out?
- Screenwriters’ style you admire the most?
- Screenplays every writer should read?
- Screenwriting books every writer should read?
- One thing you know now that you wish you’d known starting out?
It’s a very interesting read from inside the trenches that we hope you get a lot out of. Enjoy!
Screenplay reader #1:
Scott Parisien.
First up, we have Scott Parisien, who’s one of our longest serving screenplay readers.
He’s optioned almost every one of his spec screenplays, has been hired for many projects from independent to studio-level producers, and has hit that coveted position of having a screenplay actually produced.
1. Films you wish you’d written.
Back to the Future. If there is a single movie out there that is iconic for endless reasons, it would be unreal to have been the one to breathe it to life.
2. TV shows you wish you’d written.
Six Feet Under is one of the pilots that come as close to perfection as possible. From unique and unexpected characters to surprises and innovation before it was touched by anyone else, it makes us want to see what comes next immediately.
3. Novels you wish you’d written.
There is something cinematic about Greg Iles’s Natchez Burning trilogy. Penn Cage is a character of such depth, and there may not be a novelist today who writes evil characters as three-dimensional and fear-inducing as him. Every page teaches a lesson in writing.
4. Worst screenwriting advice you hear given to writers.
Write a full biography and 100-item detailed breakdown of your characters before you write them. Knowing your character’s favorite color or coffee flavor is not as important as knowing the moment in their lives that changed them forever and made them the person they are when the audience meets them. Positive or negative, this may give you all you need to know to make them original, unexpected, and someone we’ve never seen.
5. Worst note you’ve ever gotten back on a script.
“Don’t state a character’s ethnicity, as it closes off opportunities for wider casting.” Ethnicity, race, and socioeconomic background define a character’s identity as they experience life; taking that from a character can stifle who they truly are.
6. Best note you’ve ever gotten back on a script.
“I have never read a script that was so ready to go I could start shooting it tomorrow.” Talk about making a writer feel like someone truly understood everything they were trying to say and show.
7. Early signs that a spec script’s going to be a great read.
The first scene makes me forget I am reading and feel like I am watching everything unfold.
8. Early signs that a spec script might not be a great read.
Improper formatting, overly flowery or wordy writing, and an imbalance of text on the page to white space where the text is heavier and thicker than it needs to be. There is nothing wrong with a lot of words, but only if not a single one can be removed without it not being as effective.
9. Favorite little things that a writer does in a script.
When a writer uses the format to enhance the read in creative ways that are different but don’t distract. Screenplay format must be followed at the core, but a writer’s voice comes to life in how they use their words and the space on the pages. It’s tricky to master, but the writing is impossible to forget if done well.
10. Least favorite little things that a writer does in a script.
Using too many asides or clever notes from the writer, specifically to the reader, as all it does is remind us we are reading and pushes us out of the moment and experience.
11. Best practical piece of advice you give to writers.
Do more thinking than writing. Just because you walk your dog and talk to her about your story and characters for 45 minutes doesn’t mean it isn’t writing. Jumping in too fast on the page before exploring and letting the story and characters come to life in your mind can hold them back.
12. How do you know when an idea’s solid enough to develop.
When I tell someone about the idea, and I see true excitement flash in their eyes, that’s the moment. If telling them the concept and character in a few short sentences makes them say they immediately want to see the movie or show, that’s the necessary green light.
13. First steps you take after getting an idea.
I talk about it with my dog. She is 98 percent deaf, but she’s a great sounding board. Hearing thoughts and ideas out loud makes it so much different. You can hear how cool or how stupid it sounds. I then do a lot of mind mapping and doodling, drawing out characters or objects or locations, letting my brain explode through a pen on paper. There is something so organic about pen and paper, and it allows your mind to release the subconscious in ways other options can’t.
14. How do you know when a script’s ready to send out.
The script feels ready when readers don’t bring up any more issues as problems. Getting reads and notes is key. It’s like doing a screening for the movie before release. You need to know how people will receive it. I enjoy positive feedback like anyone, but knowing any negative or problematic areas helps ensure the script is as undeniable as possible. If someone says they just don’t like it, it doesn’t matter. Not everybody is going to like everything. You can’t control that. All you can control is what you put on the page; if nobody finds any problems or issues, that’s the thumbs-up I need.
15. Screenwriters whose writing style you admire the most.
There may be no better screenwriter out there than Eric Heisserer. Hands down, his screenplays are even better than the movies they turn into. There is no better textbook than a Heisserer screenplay. They are not just to read but to study, break down, and learn from.
16. Screenplays every writer should read.
Arrival (the early version titled Story of Your Life), Breakdown, Identity, Dirty Dancing, Bird Box, Back to the Future, Home Alone, Six Feet Under (pilot), The Thing, Goodfellas, Schindler’s List, The Dark Knight, The Matrix, The Goonies, Stranger Things (pilot), The Princess Bride, Pirates of the Caribbean: Curse of the Black Pearl, Silence of the Lambs, E.T., The Boys (pilot). Just to name a few.
17. Screenwriting books every writer should read.
The Writer’s Journey (Christopher Vogler), Writing for Emotional Impact (Karl Iglesias), The Art of Dramatic Writing (Lajos Egri), Psychology for Screenwriters (William Indick), Save the Cat (Blake Snyder), The Hero with a Thousand Faces (Joseph Campbell).
*These can be found on our Best Screenwriting Books post.
18. One thing you know now that you wish you knew starting out.
Your first screenplay will probably not be your best screenplay. You can’t put all your hopes and dreams into one script. Like any skill, it takes endless hours of growing and mastering. At this point, I have written over 30 screenplays, and I still get better at it with each new script. And I believe I still have the best one in me. So do you. So, write hard.
Want Scott to read YOUR screenplay? He’s available for: Script coverage services, script rewrite services, mentorships.
Main-genre specialties: Action/Adventure, Comedy, Thriller
Sub-genre specialties: Dramedy, Romance, Western, Family, Religion
For more info on all of our screenplay readers, check out our Meet the Team page here.
Screenplay reader #2:
Dash Finley.
Next up we have Dash Finley. He’s a screenwriter and film journalist based in Los Angeles.
Having worked as a development assistant to a number of high-powered executives and creatives, he has written many screenplays, working under filmmakers such as Doug Liman (The Bourne Identity), Stanley Weiser (Wall Street) and Bruno Barreto (Dona Flor and Her Two Husbands).
Dash has also been hired for feature work by Norris Chumley (a former producer for Oprah) and Jason Kliot (the producer of Coffee and Cigarettes).
1. Films you wish you’d written.
Jeb Stuart and David Twohy’s 1993 adaptation of The Fugitive is, to me, a quintessential example of how to perfectly structure a screenplay in order to ramp up tension and build stakes. The script not only maintains a gripping pace but also serves as a spot-on case study on how to elevate existing intellectual property (IP).
The original ’60s TV show was transformed and given new life with a heightened urgency, making it super relevant and exhilarating. This adaptation shows how to refresh and enhance old concepts, which is a valuable lesson in today’s franchise-driven, IP-heavy industry.
Quentin Tarantino’s Inglourious Basterds is another screenplay I find myself envying, but for different reasons. Tarantino, known for his unique voice and unconventional storytelling, sort of refines his distinctive style in this project.
The screenplay embodies all the typical Tarantino trademarks—rich, esoteric dialogue, and pop culture references—but packages them in a more polished and streamlined manner than some of his earlier, more spontaneous films. The script showcases how a writer can stay true to his artistic preoccupations while still evolving in technique/execution.
2. TV shows you wish you’d written.
When thinking about a show that has been somewhat overlooked despite its initial impact, 24 comes to mind. The show’s premise is undeniably razor sharp: it’s essentially a ticking clock in episodic form. Each episode represents one hour of real-time, building tension towards an impending terrorist threat. This format made every episode compelling and created a defining example of “must-see TV.”
This approach stands in contrast to many current streaming shows that often feel pretty meandering. These newer series don’t always drive the story forward efficiently, relying on devices like flashbacks and bottle episodes.
3. Novels you wish you’d written.
I’ll admit I’m no novelist, and my literary tastes tend to be more mainstream than avant-garde. That said, I greatly admire Franz Kafka, and I’m particularly drawn to The Trial. It exemplifies how to use allegory and metaphor to convey a message without being heavy-handed.
Also, I find inspiration in Kafka’s life story. Despite working under challenging circumstances and facing pressures both from controlling family members and a bureaucratically bludgeoning job, he managed to create timeless works.
4. Worst screenwriting advice you hear given to writers.
A common piece of advice in the industry is “writing is rewriting,” which, while well-intentioned, can be somewhat misleading. Rewriting is obviously crucial for refining a script. However, I fear that emphasizing this mantra too heavily can set unrealistic expectations for new writers, often making them feel their work is never adequate.
This perspective might lead to endless revisions in pursuit of this unattainable perfection, causing writers to miss opportunities to share their work. It’s important to find a balance between improving through rewrites and knowing when to move forward with your script.
5. Worst note you’ve ever gotten back on a script.
The most baffling feedback I’ve ever received came from a development executive who prided himself on “thinking outside the box.” He told me he disliked how my script had elements set up early on that were then paid off at the end. He claimed it was too conventional.
His brilliant advice was to either have setups with no payoffs or payoffs without any prior setups. It was seriously a head-scratcher!
6. Best note you’ve ever gotten back on a script.
The best note I ever received was one that I got very early in my career, and while it seems very simple and basic, it rang true on a deep level for me.
I was told that my story was being created from the outside in rather than the inside out — meaning I was crafting a plot and then molding my character behavior to fit that plot, rather than allowing the characters’ motivations, personalities and choices drive the story and thus create the movements of the plot.
7. Early signs that a spec script’s going to be a great read.
An early indicator of a spec script with serious promise is an opening scene that immediately captivates the reader. When I encounter a cold open that’s skillfully crafted and clearly angles to engage me quickly with a “hook,” I know I’m dealing with a talented writer.
8. Early signs that a spec script might not be a great read.
Conversely, a red flag in a spec script is the introduction of too many characters right from the start. An opening scene that introduces ten different characters and expects the reader to keep track of each one throughout the script often signals a bumpy ride ahead.
9. Favorite little things that a writer does in a script.
I’m always impressed by scripts where it’s clear the writer has done extensive research on the setting or professions depicted. The more esoteric the details, the more heavy lifting is required from the scribe.
This level of commitment to authenticity shows the writer’s dedication to creating a believably engaging world.
10. Least favorite little things that a writer does in a script.
The Shane Black style of writing, with its witty asides and meta-commentary in action lines, can be a double-edged sword.
While Black himself executes it with one-of-a-kind charm and efficiency, less experienced writers attempting to emulate this style often come across as contrived or “try hard.” It’s a delicate balance, and not every script benefits from that kind of approach.
11. Best practical piece of advice you give to writers.
A valuable practical tip for screenwriting is to keep action descriptions concise. This isn’t just about style — it’s about the mechanics of writing for the screen. Industry pros really appreciate scripts that allow for quick reading, which is facilitated by more white space on the page. I’d avoid long, novel-like paragraphs in action descriptions.
Instead, always aim to convey the necessary visual information succinctly to keep the reader engaged and the script moving swiftly.
12. How do you know when an idea’s solid enough to develop.
The best way to test an idea’s potential is by sharing it with friends. Even if they’re not industry insiders, their reactions can be pretty revealing. It’s important to observe carefully, though. Some friends might be genuinely intrigued, while others might just be trying to be supportive.
Look beyond polite nods to gauge their true level of engagement. This can provide really valuable feedback on whether your concept actualy resonates.
13. First steps you take after getting an idea.
So, I always recommend starting with what I call a “rough menu.” Think of it as a brainstorming version of an outline. Open a blank document and jot down as many scene ideas as you can for your concept. Don’t worry about order or coherence at this stage, just focus on generating potential scenes and elements.
This document becomes a pool of ideas from which you can then select, much like choosing dishes from a menu, to craft a structured outline. This method will help you visualize the various possibilities before committing to a specific narrative flow.
14. How do you know when a script’s ready to send out.
I know I just decried “writing as rewriting,” but before submitting your script to the industry, I would ensure you’ve gone through at least three drafts. It’s crucial not to rush out your first draft. Also, seek outside feedback. There are now numerous online script coverage services (cough cough) offering professional advice.
These services can provide insights that friends might not, especially if they’re unfamiliar with screenwriting ins and outs. While buddies are great for initial reactions, professional opinions are more important for detailed script feedback.
15. Screenwriters whose writing style you admire the most.
In modern screenwriting, Ted Elliott and Terry Rossio stand out not just for their blockbusters like Shrek and Pirates of the Caribbean (and Rossio’s recent work on Godzilla X Kong), but for their industry journey. They exemplify how screenwriters can evolve from writing spec scripts to becoming influential in the industry.
I’d say their careers offer significant lessons for aspiring screenwriters, showing how one can start outside the studio system and rise to the top while maintaining a relatively distinctive, innovative approach to storytelling. Their work, while obviously very accessible and mainstream, is study material for understanding how to appeal to broad audiences and master the mainstream — and how to stay true to yourself while doing it.
16. Screenplays every writer should read.
Any contemporary screenwriter should study Nightcrawler by Dan Gilroy. It’s an excellent example of a contained character piece, a type of script that new writers often have success with early in their careers. It’s designed to attract top-tier talent—in this case, Jake Gyllenhaal.
Nightcrawler shows how to craft a script focused on deep character exploration while still delivering a compelling, fast-paced narrative that keeps audiences engaged. If you want to reach for a classic off the shelf, there is of course Chinatown by Robert Towne. The formatting may be dated, but the content remains as incredibly nuanced and layered as it ever was.
17. Screenwriting books every writer should read.
I recommend books that offer a mix of practical knowledge and deeper insights. Three standouts are: Screenplay by Syd Field, a fundamental guide to screenwriting basics; Adventures in the Screen Trade by William Goldman, which provides an insider’s perspective on the industry; and Writing Movies for Fun and Profit, by Thomas Lennon and Robert Ben Garant, offering a more present day view of the landscape.
18. One thing you know now that you wish you knew starting out.
When I was starting out, I wish I’d known that screenwriting isn’t this streamlined path to overnight success or quick riches. Like many newcomers from film school or elsewhere, I imagined my first script would be an instant hit, catapulting me to the top of the industry.
When my first few scripts failed to generate interest, I felt crushed and considered giving up. Eventually, I found the determination to continue, leading to a relatively successful career. If I’d understood from the beginning that this career is more of a marathon than a sprint, requiring plenty of time and perseverance, I probably would have handled those early challenges better.
Want Dash to read YOUR screenplay? He’s available for: Script coverage services, script rewrite services, mentorships.
Main-genre specialties: Action/Adventure, Comedy, Thriller
Sub-genre specialties: Dramedy, Romance, Western, Family, Religion
For more info on all of our screenplay readers, check out our Meet the Team page here.
Screenplay reader #3:
Cody Smart.
Next in the hot seat we have Cody Smart, a writer, script doctor and development exec at Sony. She has sold several scripts, done ghostwriting, and written multiple scripts-for-hire, including book-to-script adaptations.
1. Films you wish you’d written.
I would’ve loved to have written Little Miss Sunshine or Juno. They’re very unique, low-budget film scripts with amazing character work and some of the best dialogue I’ve seen in scripts.
2. TV shows you wish you’d written.
I would’ve loved to have written Breaking Bad or How I Met Your Mother. They’re both very well planned out shows that showcase the importance of plotting shows in depth, and having a true plan for where the show and characters are going.
3. Novels you wish you’d written.
The Girl With the Dragon Tattoo series (Such an interesting protagonist!)
Virgins of Paradise by Barbara Wood (A great tale of a family through the ages)
Vital Signs by Danielle Steel (A great exploration of friendship with 3 strong female protagonists)
The Notebook (One of the best love stories ever told)
4. Worst screenwriting advice you hear given to writers.
“Just wing it” when writing a script. I believe that plotting out the story and characters first is essential to writing a story that has direction and a real arc for the protagonist. You don’t have to outline every single scene, but some plotting is definitely needed.
5. Worst note you’ve ever gotten back on a script.
The worst notes to me are either when the notes are clearly reader preferences that have nothing to do with the story, or when the reader is trying to force their own version of the story, instead of suggesting tangible suggestions for improvement of the story I’m trying to tell.
6. Best note you’ve ever gotten back on a script.
Making two characters related—it totally changed the dynamic and made the conflict between the characters so much stronger. They could fight and hate each other, but still love each other at the same time. It made them so much more interesting.
7. Early signs that a spec script’s going to be a great read.
When a script drops us right into the action/conflict in the very first scene. This doesn’t mean a huge set piece, but straight into conflict instead of a slow buildup.
8. Early signs that a spec script might not be a great read.
When I immediately see bad formatting, passive writing, and a lack of understanding of the rules of screenwriting in the very first paragraph of the script. The first rule of screenwriting is learning the craft and showing you respect it.
9. Favorite little things that a writer does in a script.
Showcasing their unique voice and style in the action/description as well as the dialogue. This to me is so key – and what contests and producers are trying to discover.
10. Least favorite little things that a writer does in a script.
Adding camera directions and internal thought. You’re not writing a shooting draft. And you’re not writing a novel—externalize things and make everything visual.
11. Best practical piece of advice you give to writers.
Make antagonists three-dimensional and not stereotypes that are evil just for the sake of being evil. The best antagonists are the ones that we understand and connect with, and if we were in their shoes, we might behave like them.
12. How do you know when an idea’s solid enough to develop.
When the protagonist is unique, with a clear goal, core wound, and arc, and a story that directly affects them, with a true journey for them to embark on.
Also, when it’s a premise we haven’t seen before, or when the idea is a completely fresh take on an idea we’ve seen multiple times before and audiences love.
13. First steps you take after getting an idea.
Map out the protagonist’s arc in conjunction with the turning points of the story. To me, story is about character, and the structure should be a reflection of the character’s emotional journey—they’re one and the same.
14. How do you know when a script’s ready to send out.
A writer will always want to keep rewriting their script. But I think it’s ready when it’s gone through several rounds of coverage from professionals, and multiple revisions addressing the notes until you get to a point where you’ve found what you’re telling with a particular story, and it all works. And then it’s been proofread for formatting and typos.
15. Screenwriters whose writing style you admire the most.
There are probably too many to mention. But a few that come to mind are Amy Sherman-Palladino (Marvelous Mrs. Maisel), Vince Gilligan (Breaking Bad), Diablo Cody (Juno), and Aaron Sorkin (West Wing).
16. Screenplays every writer should read.
This is really hard, as I could write pages and pages of suggestions. But a few that I particularly love are:
The Social Network
When Harry Met Sally
Juno
Little Miss Sunshine
American Beauty
Whiplash
500 Days of Summer
Fight Club
Breaking Bad
The West Wing
17. Screenwriting books every writer should read.
Again, too many to mention. But some of my favorites are:
Directing Actors (A great guide for writers to learn how to write playable actions)
I Could’ve Written a Better Movie Than That
Writing the Pilot (all 3 books in this series)
That’s Not the Way it Works
The Nutshell Technique
I Liked It, Didn’t Love it
18. One thing you know now that you wish you knew starting out.
This is a business. If you want to make a career as a writer, you need to understand that you need to work with others, so you need to sell yourself as a writer people want to work with.
You should also learn how to write to budget—trying to sell a $250 million action piece as a new writer isn’t going to happen. You need to hone your craft and work on it every day. It takes years and a lot of passion to have a career as a writer.
Want Cody to read YOUR screenplay? She’s available for: Script coverage services, script rewrite services, mentorships.
Main-genre specialties: Action/Adventure, Comedy, Thriller
Sub-genre specialties: Dramedy, Romance, Western, Family, Religion
For more info on all of our screenplay readers, check out our Meet the Team page here.
Screenplay reader #4: Tennyson E. Stead.
Our next screenplay reader is Tennyson E. Stead. While best known as the writer behind the tentpole dark future gladiator film, Atlas Uprising, now in development at Emagine Content, Tennyson has also ghostwritten many prestige dramas and was on the development team for the animated family release, Igor.
1. Films you wish you’d written.
Autumn Sonata, which is one of Ingmar Bergman’s later films, is to my mind a functionally flawless script. I’m obviously not Swedish, and I’m too young to have made the movie he made… but I’d like to have something that tight and intimate and hard-hitting under my belt before I die.
2. TV shows you wish you’d written.
Manh(a)ttan. Most people don’t remember it, but it was released at the same time Halt and Catch Fire was coming out… and the scenework was very consistently a gift to the actors. I bet that show had a lot to do with the greenlighting of Oppenheimer.
3. Novels you wish you’d written.
Quite a few of the writers I’ve admired over the years have been revealed to be abusers or bigots in some way, so I’m in the process of reevaluating my reasons for loving the writers I do.
4. Worst screenwriting advice you hear given to writers.
“Show, don’t tell.” Great cinema doesn’t come from making a story visual, necessarily. It comes from allowing the characters to drive the narrative, instead of letting the narrative drive the characters. Making a movie more visually dynamic doesn’t make it better, and it’s getting harder and harder to get new writers to see that distinction.
5. Worst note you’ve ever gotten back on a script.
“I just don’t see why a woman would try to be a hero like this. Maybe if her father was a hero, so she could try to follow his footsteps…”
6. Best note you’ve ever gotten back on a script.
Most of my favorite moments in the development process are moments when actors ask me for help with something they think is minor, and I wind up finding that actually I’ve written them a passive character. What I bring back to them after those conversations always lights them up.
7. Early signs that a spec script’s going to be a great read.
If the writer knows they don’t need to set anything up, I’ve got a lot more confidence in the scenework.
8. Early signs that a spec script might not be a great read.
If the writer is putting a focus on what’s happening to the characters, rather than what the characters are doing to achieve their goals, then the script usually winds up feeling like the lesser screen adaptation of a much better novel. This happens a LOT.
9. Favorite little things that a writer does in a script.
Every writer is different. If the more structural elements of good drama and good scenework are in place, I’m up for anything. Good cinema comes in all shapes and sizes.
10. Least favorite little things that a writer does in a script.
Playing games with formatting. Screenplays are reference tools for development and production. Formatting is what makes that tool as easy as possible for other people to use, and reinventing that format shows a lack of concern for the work other people need to do.
11. Best practical piece of advice you give to writers.
Any idea can be great. Don’t worry about having the “right idea.” Success in showbusiness comes down to strength in our craft, strength in our community, and literally nothing else.
12. How do you know when an idea’s solid enough to develop.
If an idea makes me feel passionately enough that I know I can sustainably see it through the development process without wanting to burn down Hollywood first, then that’s the idea I should be developing.
13. First steps you take after getting an idea.
I need to decide which of my goals that idea is actually going to help me achieve. Is it something I want to sell? If so, writing it now could be a good idea. Is it something I want to develop myself? If that’s the case, I need to prioritize it against my other projects and the projects of my colleagues.
14. How do you know when a script’s ready to send out.
Practice?
15. Screenwriters who’s writing style you admire the most.
I identify a lot with Aaron Sorkin, Kenneth Branagh… and Tom Stoppard is a personal favorite.
16. Screenplays every writer should read.
I haven’t read any screenplays that made me a better screenwriter to the same degree that I’ve improved by writing screenplays, working with actors, or taking acting classes.
17. Screenwriting books every writer should read.
Syd Field’s “A Screenwriter’s Workbook” is a good starting point. I recommend learning dramatic structure by rehearsing strong material, and by writing strong material, rather than reading about it.
18. One thing you know now that you wish you knew starting out.
Breaking into Hollywood is just like High School theater. It’s not about waiting to be picked. It’s about staging productions that the senior class feels envious of.
Want Tennyson to read YOUR screenplay? He’s available for: Script coverage services, script rewrite services, mentorships.
Main-genre specialties: Drama, Comedy, Action/Adventure
Sub-genre specialties: Sci-Fi, Dramedy, Family, Sports, Martial Arts
For more info on all of our screenplay readers, check out our Meet the Team page here.
Screenplay readers #5: Peter Briggs.
Peter’s perhaps best known for co-writing Hellboy, with Guillermo Del Toro. In 26 years, he’s been employed by 20th Century Fox, Paramount, Universal, Sony/Columbia, Miramax, and many more, writing on such projects as Alien vs. Predator, Judge Dredd and War Of The Worlds.
1. Films you wish you’d written.
Now, this is a loaded question. Films are a gestalt combination of numerous elements beyond what we bring to the table: the cinematography, the direction, performances, the setpieces, the score, et-al. The films we love the most are often the best combination of those factors.
But at its core, the creative novelty and invention of what the Screenwriter constructs with their scenes and wordplay, is independent of those other components – because we were there first. Jaws (#3 in my All-Time List) has such vivid characters thanks to its leads, but it’s also a masterclass in originality and penned zingers. (I once was lucky enough to have a drink with its principal writer, Carl Gottlieb, and tell him how much that movie meant to me.) The Duellists (#9) is a perfect period film—the wordplay is formal, but intelligent and still playful. Same with Lawrence Of Arabia (#13). Casino Royale (#12) captured absolute Bond-movie lightning in a bottle. The Rocketeer (#16) is the perfect adaption that transcends its comic-book origins.
I have countless hundreds of films I wish I’d written. I live for film. A good film is a delight. Why aren’t there more these days? Are you writing one? Please make it roar for the ages!
2. TV shows you wish you’d written?
My all-time TV show is Band Of Brothers. So, that one. There’s a lesser-known British spy series called The Shadow Line from 2011 which just thrilled me and kept me guessing from beginning to end. Stephen Rea playing a Terminator-in-tweed? I was in!
I’d love to write any of the new Disney Star Wars (I was the first person, apparently, that Lucas’ producer Rick McCallum interviewed for the abandoned Star Wars show Underworld, back in 2005.). It’s fun to write a character you loved as a kid, and have the actor who inspired your “adventures with toys” say the words you wrote. It’s happened to me.
3. Novels you wish you’d written?
Top of the pile is Replay by Ken Grimwood, the story of a man who in his 40s has a heart attack, dies, and then gets to live his life over and over and over (wish fulfilment?). My favourite book, read in one sitting, when newly-published in 1986. Over a decade later, I penned a review of Replay when some new-fangled “Amazon-thing” started-up, and to my surprise Grimwood got in touch to say how much he appreciated my words. We corresponded for a while…which abruptly ended, just after his revelation he’d had an idea for a sequel book. It was some time before I discovered Ken ironically had a heart attack…and died. I hope he’s living again, somewhere. Somewhen…
Neuromancer by William Gibson is also way up there. It really informed so much of what I laughably call “my writing style”. It’s no wonder he was asked to write a draft of Alien 3 by Fox—Gibson writes cinematically. I never tire of rereading this book. Bill and I have swapped Tweets occasionally. Ain’t the Interwebs grand? There’s lots more, but I’m not going to tell you. Mostly because I hope to get to adapt them someday.
4. Worst screenwriting advice you hear given to writers?
“Format doesn’t matter”! If you believe that, wait until the Line Producer pours honeyed words into the Producer’s ear, and you wonder why David Goyer’s suddenly rewriting you.
5. Worst note you’ve ever gotten back on a script?
From a former agent of mine. “You write too beautifully. It’s like literature…you write like a novelist!” Conversely, that might also be the best note I ever had. Because working on one particular project was so brutal, it challenged me to hack and hack at my prose, draft after draft, and that was an epiphany. It was like losing your virginity: something broke, and suddenly my words were no longer as precious to me. You can always phrase a thing in the same way, but with a greater economy and efficiency. Edit!
6. Best note you’ve ever gotten back on a script.
“It’s perfect. Don’t change a word!” On Hellboy, from Dark Horse producer Mike Richardson during our first producer meeting at the Studio. (Of course, the Director then came on and had his say, soooooo…)
7. Early signs that a spec script’s going to be a great read?
I don’t think there’s a hard-and-fast on this. If a screenplay isn’t too-dense, if there’s some clever and smooth wordplay, if it’s a page-turner, then it speaks for itself. Good dialog…oh, man: I crave and live for good Dialog.
I can help a good writer make a sale by telling them what to change and enhance (or even lose). I’ve coaxed a number of really talented screenwriters found via Script Reader Pro through their drafts; helped them make Sales and Options, and win Fellowships and competitions. But this has to start with you: you have to have the talent. Do you have what it takes for me to help cheerleader you over that winning line?
8. Early signs that a spec script might not be a great read?
First reassurance for me, is to see if the Writer has “CONTINUED/(CONTINUED)” and uses Transitions, and then I look at their final page count. If they’re 105-115 pages with Transitions and Continueds and the prose isn’t stacked, I’m hoping to be waterskiing effortlessly and waving to the gals onshore. That Writer understands format, and they understand Transitions bring with them a more comprehensible and faster read. But If they’re 120+ pages without either, it’s good bet I’m gonna be climbing Mount Everest in a blizzard, and cursing every second of the way.
Some misguided loons out there have been sermonising sparse line-break “Vertical Screenwriting” in the last few years, of the kind Walter Hill did back in the 70s. For the love of God, please don’t do it. We’ve been educated since children to read books, and understand how paragraphs work. I don’t want to read shopping lists, and I hate haiku.
9. Favorite little things that a writer does in a script?
Yeah, I’ve got nothing. Nothing repeatable. Nothing outside the usual standards you should be following anyway. All the Rules of Screenwriting you can learn and assimilate in a day, maybe two. Everything else is your talent and your story. Be assured: if you’ve got something specific that delights me, I will tell you.
10. Least favorite little things that a writer does in a script?
So many. A veritable checklist, and I see them all, on a regular basis. And so many of them, I know, are from bad information on Screenwriting Twitter. Be assured: if you’ve got something that ticks me off, I’ll also tell you that! (But really, guys. Know the difference for just your daily grammar between “its/it’s”, and there being no possessory apostrophes in either a character’s age, or years.) You come to me, you’ll get the diligent checklist. And you’ll be a better writer.
11. Best practical piece of advice you give to writers?
When you make your sale, don’t blow your money. Invest at least a proportion of it wisely, because you can make it carry you through your writing when there are lean periods. (If you have a time machine, please go back and tell 1995 Me to invest that Freddy vs Jason money from New Line in Apple, and not say the words “Eh, I’d rather enjoy it now…”)
Here’s an easy one for now: “Write A Little Bit, As Often As You Can”. If you manage one page a day, that’s still three scripts a year. That’s the beginning of the kind of good Warchest that will help you get your agent or manager.
12. How do you know when an idea’s solid enough to develop?
A lot of these questions (and answers) are down to the individual. I’ve been hired by a studio and written a script in two weeks. (Blind panic and a contract have a terrific way of motivating creativity.). I’ve had the whole plot for a script come to me in a lightning bolt while standing in the Roman Forum in Italy. I have a screenplay idea that one of the current heads of Disney has been hassling me about for over 20 years, and I’m just getting to the point where I think I might be confident enough to tackle it.
A good idea is a good idea. If you’re struggling with an idea…maybe it wasn’t such a good idea? (Or, maybe you’re just too close to it, and you just need to get a fresh perspective outside the box. Howdy, Writers’ Group! Hi, Script Reader Pro!)
13. First steps you take after getting an idea?
Again, back to the individual. But you have to start assembling your nuggets into a coherent storyline. I can’t do treatments. Well: I can, but I hate them. They’re inorganic. Your characters grow and evolve as you write them, and push against the boundaries of the story. And a treatment is a bounded story. I like to use business card-sized cards, and corkboard them. As you’re writing your script, that still gives you the function to change and adapt your story on-the-fly. A treatment doesn’t do that. It shackles you.
14. How do you know when a script’s ready to send out?
As Yoda says “You…will…KNOW.” I rewrite constantly. I nitpick my own words. So, I’m usually happy to send out my first draft (yes, really!) I’ve been doing this for 30-plus years, so I’m pretty confident in my abilities at this point. But I’m aware Tyros starting out on their path may have to go through a process to get to their sweet spot. The wide-eyed “Me” from the late ’80s, would be the “You” from now. And, that’s fine. We all evolve. (I’m only now feeling that my Dialog is worthy, and this is after 30 years of being hired by every studio in town.) Getting feedback is a great thing—acting on that feedback is better. But everyone has opinions, and it’s knowing whose to trust. After all, your Bedtime Beloved isn’t going to tell you the fruit of your late-night screen cursing sucks, right?
15. Screenwriters whose writing style you admire the most?
Old school, I’ve always liked Phil Kaufman as an intelligent writer. Same with Robert Bolt. Shane Black effortlessly writes zingers (although as he’s a friend, I could be accused of bias.). Martin McDonagh, the Butterworth Brothers, Graham Moore. People like Brian Duffield, Zach Cregger, who write charming mini-epics. These days, though, the studio assembly line leaves you wondering who else WASN’T credited in the sausage factory due to the WGA Arbitration percentage rules, beyond the multitudes on the poster. (I’ve written many times on films and never got credit, even though what’s onscreen is something I created.). The auteur is rare, and I think every film should be judged on a case-by-case basis. No writer is bulletproof.
16. Screenplays every writer should read?
Billy Wilder. Ruth Prawer Jhabvala. Mid-career William Goldman (before he started believing his publicity.) Aaron Sorkin. Nora Ephron. Aw, hell: I’m going to say Mamet, because his weird halting/inverted-dialog style on The Untouchables is something I really admire. (I think there are cliched writing-cadence stereotypes that many writers fall into, where you can predict what a character is going to say next, and it’s important to try train yourself to think outside that box. Mamet’s writing in that movie is a good example of how writing atypically can work gangbusters.)
17. Screenwriting books every writer should read?
Only three of them. Seriously. “Screenplay” and “The Screenwriters Workbook” by Syd Field, and “Writing Screenplays That Sell” by Michael Hauge. Forget anything else about cats having journeys: they’ll all just mess with your head. Those three alone will teach you the essential fundamentals of what you need to know, and the rest will come from you. Since the ’90s, the Screenplay Book Market has exploded, and most of these people who are telling you how to write have never had screenplay optioned, much less made. Why should you listen to those folks?
But go read interview books with screenwriters. When you’re starting off, they’re great to read in the bathtub and help you feel inspired. Just don’t let them give you bad habits…
18. One thing you know now that you wish you knew starting out?
Use the heat as soon as it hits, because it’s transitory. I wish when I made my first sale (Alien vs Predator, to 20th Century Fox in 1992), I’d spent 6 months in Los Angeles and networked, as I only flew in for one meeting in all that time. I naively stayed in England, and even though I was regularly getting assignments (my then-agent was the head of William Morris in London), it was 6 years later in 1998 that I spent some serious time there. I wonder how my career would have changed had I pressed some flesh and met more people in that interim. This is a business about relationships, as well as talent. The internet (which wasn’t a thing for me when I started out) is great, but there’s nothing like sitting in a room with somebody. Skype and Zoom are still barriers to conversation.
Want Peter to read YOUR screenplay? He’s available for: Script coverage services only
Main-genre specialties: Drama, Action/Adventure
Sub-genre specialties: All
For more info on all of our screenplay readers, check out our Meet the Team page here.
Screenplay readers #6. Jenna Mattison.
Up next, Jenna Mattison. Recently she was commissioned to write the script for bestselling author Sophié Kinsella’s (Confessions Of A Shopaholic) latest film adaptation, Remember Me? And was hired to adapt a second Kinsella bestseller, I’ve Got Your Number, in 2022. In 2023 she adapted an upcoming YA fantasy novel called The Transcendents and was commissioned in 2024 to adapt the New York Times bestselling memoir, Dying To Be Me.
1. Films you wish you’d written.
Angel Heart, The Sixth Sense.
2. TV shows you wish you’d written.
True Detective, Twin Peaks.
3. Novels you wish you’d written.
Fight Club, Fallen Angel.
4. Worst screenwriting advice you hear given to writers.
To quit because it’s too hard to make it in the business.
5. Worst note you’ve ever gotten back on a script.
It’s too exciting with so many twists and turns.
6. Best note you’ve ever gotten back on a script.
Don’t take any notes you don’t want, I don’t want to make Frankenstein’s monster out of your creation.
7. Early signs that a spec script’s going to be a great read.
When I can hear the characters voices.
8. Early signs that a spec script might not be a great read.
It’s not flowing with ease.
9. Favorite little things that a writer does in a script.
Economy of language.
10. Least favorite little things that a writer does in a script.
Flowery and overly descriptive.
11. Best practical piece of advice you give to writers.
Ass in chair. Just keep writing, that’s the only way to become great at it.
12. How do you know when an idea’s solid enough to develop.
Gut instinct.
13. First steps you take after getting an idea.
Jot down notes as the ideas come, even if it’s in the middle of the night.
14. How do you know when a script’s ready to send out.
When nothing bumps for me when I read it.
15. Screenwriters who’s writing style you admire the most.
Can’t recommend any.
16. Screenplays every writer should read.
Can’t recommend any.
17. Screenwriting books every writer should read.
Can’t recommend any.
18. One thing you know now that you wish you knew starting out.
How to take notes without getting defensive.
Want Jenna to rewrite YOUR screenplay? She’s available for: script rewrite services only,
Main-genre specialties: Drama, Thriller, Horror
Sub-genre specialties: Romance, Fantasy, Dramedy, Historical, Religion
For more info on all of our screenplay readers, check out our Meet the Team page here.
Frequently asked questions about screenplay readers.
Q. What does a screenplay reader do?
A. First, the “screenplay readers” listed in this post are actually more like “script consultants” or “story analysts.” Many of these terms have become fairly interchangeable in recent years but, technically, the main differences are these:
Type of work. A script consultant is likely to get involved in brainstorming sessions and writing long, detailed notes. A screenplay reader engages in writing short, one or two-page script coverage reports. These notes briefly outline whether the script is worth passing up the chain at their company.
Job status. A script consultant usually has a lot more experience and knowledge than a script reader. Consequently, they earn more. Screenplay readers are generally regarded as fairly low-level employees at companies. They are the first line that must be cracked.
Cost. The work performed by a script consultant is often not cheap as they can (usually) really help writers improve their work. Screenplay readers, on the other hand, are free. You send your script in to “ACME Management” and your only reward is a call back if they liked it.
Q. How much do screenplay readers make?/What’s a decent wage per script?
A. Screenplay readers generally make somewhere around $50-$70 per script, depending on the script coverage company, studio, agency etc. Some pay less: $15 per script, or nothing at all. (You’re just doing it for the experience). Some contests also don’t pay anything but you get a free access pass.
Q. How do I get screenplay readers to read my script?
A. It depends what outcome you’re looking for. If you’d like a screenplay reader to consider your script for production, you need to come up with an action plan on how to submit your script to studios, agencies, production companies etc. You can find some info on how to do that here: How to Sell a Screenplay: 6 Proven Strategies to Make a First Sale.
If you’re looking to have your script assessed by screenplay readers before sending it off to a studio, then there are plenty of script consultancies that offer this service. And we’re one of them! You can check out all of our script coverage services here.
Screenplay readers conclusion.
We hope you enjoyed getting inside the minds of some of the best screenplay readers out there. If you’d like more info on script coverage or how to become a script reader or script consultant, check out the links below.
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